17th Century Art

Paul van Somer, circle of (1576, Antwerp - 1621, London) Portrait of a lady in a lace collar. Oil on panel. 64 x 49.5 cm. Provenance Private collection, Switzerland The present...

David Teniers the Younger Antwerp 1610 - 1690 Brussels A river landscape with travellers by a jetty and a man in a rowing boat, a church beyond Signed with monogram lower right: DT. ...

Oil on canvas Signed left below: “P.V. Roestraten” also monogrammed on the red wax seal ‘SPGR’ F. Meijer in cat. Dutch and Flemish Still life paintings bequated by Daisy Linda Ward...

Oil on canvas This 17th century painting depicts a bustling village kermis. Life unfolds in vibrant hues and lively scenes. The painting captures the essence of communal celebration...

Oil on panel In his artwork, a group of individuals returns from a successful hunt, their figures silhouetted against a backdrop of serene natural beauty. The horses trot with el...

David Teniers, the Younger (1610, Antwerp – 1690, Brussels) A tavern interior with a dog and kitchen utensils in the foreground. Signed lower left: TENIERS F. Oil on panel. 28 x 36,2...

(1601, Delft – 1673, Amsterdam) Interior with gathering of musicians. Circa 1635. Oil on panel. 59.3 x 82 cm. Provenance Jules Porgès Collection, Paris , 1911. Fine Art Gallery...

REMBRANDT HARMENSZ. VAN RIJN 1606 Leiden Amsterdam 1669 Death Appearing to a Wedded Couple from an Open Grave 1639 drypoint and etching; 109 x 78 mm Bartsch 109, White/Boon only s...

Attributed to Philips Wouwerman (Dutch, 1619 – 1668) The departure of hunters near a ruin Oil on canvas 24 x 28.3/4 in. (61 x 73 cm.) Provenance: A Schonlank Gallery, Cologne; 28th A...

Italian master (17th century) - Knight greets his wife. 68 x 85cm. Oil on canvas, unframed. Condition report: Painted on the first canvas. Good state of conservation of the pictor...

A tavern interior with a dog and kitchen utensils in the foreground. Signed lower left: TENIERS F. Oil on panel. 28 x 36,2 cm. Attribution RKD, the Hague Provenance Private collectio...

This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. Beautifully composed, the sitter has been depicted three quarter length and seated within the surroundings of a wooded landscape resting her arm on a classical plinth. The classical architecture signifies cultivation and sophistication, and the pastoral background implies a virtuous character undefiled by the possession of great wealth and estates. Her body is enveloped in a luxurious russet cloak and a gauzy green and gold scarf. The clothing – known as “undress” at the time - was popular in portraiture. This, along with the type of portrait, and the style of clothing and hair help to date the portrait to circa 1684/87. The painting abounds with ingenious flourishes and demonstrations of the painter’s skills. A remarkable care is exercised, for example, in the handling of the drapery and the depiction of the hands have been rendered with remarkable confidence and sophistication. In the past it was thought that the sitter was a member of the Fairfax family of York - a long-established Yorkshire Catholic family who owned extensive land and property in the county. Their principal residence was Gilling Castle, 20 miles north of York. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687. King Charles II was so impressed by a portrait Wissing painted of his illegitimate son the Duke of Monmouth in 1383 that he commissioned his own portrait. (Royal Collection) and that of his Queen Catherine...

Tzar Peter the Great of Russia Arriving in Amsterdam in August 1697 Dutch School, 17th century Circle of Abraham Jansz Storck (c.1635-1708) Dutch Oil on canvas, in a carved giltwood ...

In this touching composition a young woman has been depicted wearing a dark coloured dress, draped at the bodice with a gauzy silk scarf and with pearls and large diamonds, over a wh...

Nicolas Poussin (Les Andelys 1594 - Rome 1665), Circle of Holy Family with Saint Elizabeth and Saint John the Baptist in a landscape Oil painting on canvas 56 x 68 cm. in frame 72 x 85 cm. We present this splendid work that depicts the episode, taken from the Old Testament, of the meeting of the Holy Family with Saint Elizabeth and the little Saint John. Saint Joseph, in the background, is between Saint Elizabeth, sitting on the ground, and the Madonna. The two hold their respective children on their knees, San Giovannino and Jesus playing with a scroll from which you can glimpse the inscription "Ecce Agnus Dei", evoking the words with which John the Baptist, as an adult, will address Christ, recognizing in him the awaited Messiah, the savior of men. The setting is simple but eloquent, intrinsic with solemnity but softened by the strong sentimental understanding between the characters, underlined by their crossed gazes full of great humanity. The arrangement of the figures also emphasizes their intimate relationship, with the Madonna supporting the Child Jesus balanced by the presence of the other characters, arranged concentrically to enhance the importance of each. There is a strong search for delicate formal correspondences, in the rhythm of the stroke and curves, as well as the psychological ones; in fact, looks and gestures are wisely intertwined, in a highly studied complex but with an extremely simple and natural effect, with a serene and calm tone. Also of great effect is the attention paid to the landscape in the background, in which views of the city and various landscape views appear, rich in detail, with hills, perched villages and architectural ruins, which evoke the area surrounding Rome. The work takes up a composition conceived, during his long stay in Rome, by Nicolas Poussin (Les Andelys 1594 - Rome 1665) *, and is an excellent example of how the author was able to amalgamate and merge the ideal of French...

Very large Flemish Old Master biblical oil painting Belgian/Dutch, 17th Century Frame: Height 93.5cm, width 219cm, depth 5cm Canvas: Height 66cm,...

Bartsch 281, Hind 167 iii/III, Nowell-Usticke 281, iii/III. A fine impression, with burr, as retouched by Baillie in 1792. With an unidentified collectors stamp, verso.

Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...

Genesis -Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout incl...

ADRIAEN VAN OSTADE (1610-1685) The Anglers etching, circa 1647-53, on laid paper, without watermark, a very fine impression of the rare third/ fourth state (of seven), printing with a light plate tone, with traces of burr on the bridge and elsewhere and fine wiping marks, with narrow margins, in very good condition. References: Bartsch, Hollstein, Godefroy 26, plate 113 x 166 mm., sheet 116 x 169 mm. Provenance: Richard Fisher...

Winter Landscape at the farm, Circle of Klaes Molenaer, 17th Century The composition of our work is divided into two distinct parts, to the left the far...

HENDRICK GOLTZIUS 1558 Mühlbracht – Haarlem 1617 Apollo 1588 engraving Bartsch 141; Hirschmann and Hollstein 131; Strauss 263 PROVENANCE Kar...

Signed and dated in ink on recto

Flemish painter of the 17th century Christ and the Samaritan woman at the well Oil painting on canvas cm. 76 x 104 - In frame cm. 93 x 121 The work is ascribed to a Flemish painter, active in the seventeenth century, and illustrates the episode, taken from the Gospel of John (Jn 4, 1-30), of the dialogue between Christ and a Samaritan woman at Jacob's well, near of the city of Sicar, from which the woman has just drawn water and then placed it in a jug. The theme (one of the most frequently used in Counter-Reformation Christian art) celebrated the main concepts of the Council of Trent: the encounter with the Samaritan woman has the symbolic meaning of the innovation brought by Christ who offers the good news even to those who are not considered pure Jew. Even the place of the event, rather unusual and certainly not religious, according to biblical tradition, was rich in meanings and historical salvific evocations. The Gospel episode is reflected in our canvas with an interesting translation both in terms of composition and pictorial quality, finding its culmination in the graceful figure of the Samaritan woman, with her elegant pose, underlined by the skilful drapery of her clothes and her gestures. . The author broadens the horizon of the scene, showing the glimpse of the city of Sicar, illuminated by the light of the dawn of a new day, and from which the disciples of Christ are returning - in the Gospel account John, Peter and Andrew are named - followed by others and by the inhabitants curious to see the new Messiah in person. The conservation conditions of the work appear very good. The painting is sold together with a nice frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the Riva del Garda...

Attributed to Cornelius de Neve (circa 1612-1678) Portrait of John, Lord Belasyse (1614-1689) Oil on canvas; held in a period style carved polished wood frame. Dimensions refer to framed size. Cornelius de Neve, was born in Antwerp, possibly training under the Dutchman Mierveldt and settling in London by 1627. It has been suggested he possibly associated with Van Dyck, though his works show a strong debt to painting in England prior to his arrival, particularly John de Critz...

Etching on BFK Rives paper

Wayne Thiebaud Dark Gumball Machine, 1964/ 2017 Hard ground and soft ground etching 18h x 12w in

The imprisonment is an original China Ink Drawing realized by an unkown artist in 17th century. Very good condition included a cream colored cardboard passpartout (60x50 cm). No si...

A 17th century hand-colored map entitled "Regni Valentiae Typus, Valentia and Murcia" by Gerard Mercator and Joducus Hondius, published in Amsterdam in 1635 in 'Cosmographicall Descr...

Original etching printed in black ink on laid paper. Signed and dated in the plate lower left Rembrandt f. 1642. A fine 18th century impression of Bartsch and New Hollstein’s secon...

This elegant large-scale portrait, presented by Titan Fine Art, is a fine example of Sir Godfrey Kneller’s court-style depiction of aristocratic and wealthy women. Beautifully composed, the sitter is three quarter length and seated within a wooded landscape. Pastoral backgrounds imply a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates. The sitter wears an azure dress with a russet cloak elegantly draped over her arm and around her body. In this picture, we can see Kneller’s technique at its best, the excellent drawing of the face. It is painted with a delicacy that contrasts with Kneller’s more usual bold manner. The sitter is also unencumbered by high fashion or a background of stately topography. The emphasis is instead placed directly on the alluring femininity, and enhanced by the loose drapery and falling hair around her shoulder. We can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones. In both techniques, we should bear in mind Kneller’s own advice, when rebuking those who peered at his works too closely, ‘My paintings were not made for smelling of…’, and yet here the sitter’s face bears even the closest scrutiny. In accordance with the sitter's age, and the style of clothing and hair, this portrait can be dated to the 1690s. Traditionally this portrait is thought to represent Susannah Papillon (nee Gregory) who was born on 13th Feb 1699 and married John Gregory Esq. However, the portrait was painted before her birth; the sitter is almost definitely her mother, Susannah Henshaw Papillon (1661-1707). Indeed, a portrait of “Susannah Henshaw, 2nd Wife of Philipp Papillon” (oil on canvas, 49.6 in. x 40.2 inches), sold at Dorotheum on October 4, 2000 [Lot 389], bears a striking resemblance to the sitter in our portrait. Susannah Henshaw was a daughter of George Henshaw, a merchant and diplomat who served as British Consul in Genoa (d.1724). In 1695 she married Philip Papillon MP (1660-1736) as his second wife. The Papillon’s were a line of politicians and land-owning gentry whose family home was Papillon Hall and Acrise Place, in Kent (a house dating from the 16th century and held by the family from 1664 to 1850 and 1946 to 1986). The couple had issue: Thomas Papillon (c.1696-c.1714), Elizabeth Papillon (c.1697-1729), Phillip Papillon (1698–1746), Susannah Gregory Papillon (13 Feb 1699–), and Sarah Papillon (born 1701). As the portrait was painted in the 1690s, and with the inclusion of the sweetbriar roses in her hand, a representation of love, this portrait was almost certainly painted to celebrate the occasion of her marriage in 1695. The Papillons were Huguenots. Thomas Papillon was Captain of the Guard to Henri IV of France but he sent his family to England in 1588 to avoid persecution as Protestants. His second son David (d.1659), an architect and military engineer built Papillon Hall in Lubenham (Leicestershire) in about 1620. He married as his second wife Anne Marie Calandrini, whose family had fled Italy as Protestants. Thomas (d.1702) the eldest son of this marriage purchased Acrise Place, Kent in 1664. He was a prominent merchant and campaigner for civil and religious freedoms as M.P. for Dover and then for London. His son Philip (d.1736) was also M.P. for Dover and married the sitter in our portrait. In the early 18th century Papillon Hall ceased to be used by the family and was sold to yeomen graziers. In 1850 the Papillons sold Acrise to William Mackinnon MP after whose death it was sold in 1908 to the Walney family, who occupied it until 1936. After standing empty for a time the house was used by the Army during the war and repurchased by Mr. A.H. Papillon, a descendant of the estate's original owner around 1946. The Folkestone Building Company purchased the property in 1986 and undertook a major programme of restoration. The main house is now divided into two separate properties, Acrise Place and Acrise Court. Although history records what became of the sitter’s husband (and his heir) it is not known which branch of the family held this portrait in the eighteenth and nineteenth centuries. It is possible that a collection of art and furniture, which may have included this picture, was reassembled at the time of Acrise Place's re-acquisition around 1946. The painting was recently located at Dewlish House, near Dewlish. The house is one of Dorset’s most beautiful country houses and is Grade I Listed. It was built in the Queen Anne/Georgian style in 1702 by Thomas Skinner, on the site of a large Roman villa. The property is set in 296 acres of picturesque parkland with farmland, forests, and a private lake. It was owned for two centuries by the Michel family and their descendants, including Sir John Michel, a notable soldier who served in the Crimean War. Anthony Boyden purchased the property in 1962, representing only the second time the property was sold in its 300-year history. This exquisite painting is held in its outstanding original hand carved and gilded frame – a work of art in itself and is in excellent condition. Sir Godfrey Kneller (1646-1723) dominates our understanding of British portraiture...

School of Meindert Hobbema (1638 - 1709) Landscape with Cottage Oil on Canvas. Framed 105cm x 92cm. A copy of a picture is held by the National Ga...

Study of a dog Oil on paper laid down on panel, 17.5 x 25.5 cm Provenance Private collection, the Netherlands Note: We are grateful to Mr Fred Meijer for his attribution to Ludolf de Jongh Ludolf de Jongh was the son of a shoemaker. When his father moved to Rotterdam, the young Ludolf decided to learn art rather than shoemaking and became a pupil of Cornelis Saftleven. Later he studied under Anthony Palamedes in Delft and still later with Jan van Bijlert in Utrecht. In 1635 he travelled to France with Francis Bacon. Seven years later, in 1642, he returned to the Netherlands when he heard that his mother had fallen ill. He set up a shop in Rotterdam, and his earliest signed paintings date from that year. According to Houbraken, his travels had caused him to speak French so fluently, that his parents had to learn French in order to speak with him. De Jongh’s work shows a strong influence from the Utrecht school of Caravaggio admirers, especially Jacob Duck...

Interior Meeting is an original etching realized in 17th century by an anonymous Master. With description in French on the bottom. Good conditions, except for some cutting and dif...

Two masterpieces by the Master of the Fertility of the Egg, nearly impossible to find in homogeneous pairs on the private market, both in terms of style and dimensions. They represen...

Portrait of a lady, seated on an ornamental garden terrace, wearing a russet coloured dress adorned with pearls and jewels, by Caspar Netscher, c.1680....

An important late 17th century pastel portrait depicting King Charles II of England. Edmund Ashfield (1640-1678) King Charles II, circa 1675 Paste...

Engraving after David Vinckboons (Malines 1576-1629 Amsterdam), executed by Jan van Londerseel (Antwerp c. 1570-1624/25 Rotterdam)

Engraving after David Vinckboons (Malines 1576-1629 Amsterdam), executed by James Van Londerseel (Antwerp c. 1570 - 1624/25 Rotterdam)

Nemesis is an original burin by the old master Galle Philips (Haarlem, 1537-Antwerp, 1612), the plate n. 20 from the series "De deis gentium imagines iconical, aeneis tabulis for Philipp.Galle exaratae; et variis distichis ab Hug. Illustrated fable", Antwerp, 1581. Our specimen is printed on laid paper, glued on secondary support, trimmed within the impression. Inscriptions: in the lower margin "NEMESIS / Trux Nemesis ut iacto cites lightning flamma / Mortalesq docet reddere cuiq fuum." Bibliography: F.W.H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700 [volume VII] Fouceel – Gole (Amsterdam 1953), p.79, nos. 352–380 (for the entire series); Belgica typographica 1541–1600 (Nieuwkoop 1994), IV, p.538 no. 1206; Fortune: "all is but fortune", catalog for an exhibition held at the Folger Shakespeare Library, 18 January – 10 June 2000 (Washington, DC & Seattle 2000), p.36 (for Nemesis); Manfred Sellink and Marjolein Leesberg, The new Hollstein Dutch & Flemish etchings, engravings and woodcuts 1450–1700. Philips Galle...

Rembrandt van Rijn (1696-1669), La circoncision dans l’étable, 1654 Etching on watermarked paper. Beautiful artist’s proof, signed and dated in plate higher-left : “Rembrandt 1654”...

Hand carved in the high prized Italian Carrara white marble quarried from Tuscany. This statue of a young nymph exudes elegance and beauty. From studying the figure we can see the sc...

Jacques Callot (1592-1635), Les Grandes Miseres de la Guerre, etchings, 1633, the complete set of 18. Lieure 1339-56, the frontispiece third state (of 3), th...

Jacques Callot (1592-1635), Le Defile a Pied (Parade on Foot), etching, 1627, from the Combat a la Barriere (Combat at the Barriere). Lieure 583, probably first state of 2. In very g...

Defeat of the Turkish Cavalry (1st State) From: The Life of Ferdinando de'Medici Engraving 224 x 300 mm.; 8 7/8 x 11 7/8 inches Reference: Lieure No. 154 Meaume No. 541 Ru...